Carousel Reviews & Ratings - IMDb IMDb 50 out of 59 people found the following review useful: It's a Wonderful Death from N Syracuse NY 1 January 2004 In recent years it has become commonplace to site Frank Kapra's `It's a Wonderful Life' as one of the greatest films ever. It has become a Christmas tradition. I feel that film is overrated. The problem I have with it is that it stacks the deck in trying to convince us of the value of human life. George Bailey is a successful banker- not exactly rich but successful enough that he contributed a lot of material things to people's lives, including a housing development named after him. He also saved his brother's life so his brother could save the men on that ship, etc. etc. The message is that you are of value if you have done the sort of things they build statues of people to honor. On top of that, without George, everybody in this town is nothing. They are all drunks or crooks or prostitutes. They have no capabilities of their own. They are all dependent on George Bailey. I much prefer Carousel, whose hero is a bum.

If you were to ask nearly everybody in town- a town that has done just fine without him, as a matter of fact, what Billy Bigelow contributed to their lives, they would say nothing- if they remembered him at all. The only people who would have anything good to say about him are those that he loved and who loved him. And that is the bottom line. If a person can be redeemed by his ability to love and to inspire love in others, we all have a chance. If you have to have a bank and town named after you, the bar is too high for most of us. As a musical, this is as good as it gets. `If I loved you' is rivaled only by `Some Enchanted Evening' as a love song and it means more as it's revealing of the character of this crude man who can't express what's in his soul and this shy girl who wants only to love and be loved. `Soliloquy' is the dramatic highlight in the history of the musical as Billy works out all his hopes and dreams in his mind and vows to do anything he can to make his daughter's life special. By over reaching his bounds, he does the opposite.

`What's the Use of Wondering' expresses the doubts anyone entering a relationship has and is doubly moving as it's sung by Julie, for whom we know the song will have special relevance. `When You Walk Through a Storm' offers hope to us all. Those old guys at graduations are really worth listening to. Was the above review useful to you? 36 out of 37 people found the following review useful: Classic R&H Musical With Superb MacRae and Jones... from U.S.A. 24 June 2001 Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline. Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop. Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama.

Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger. Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream. Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works. Was the above review useful to you? 36 out of 40 people found the following review useful: excellent Rodgers and Hammerstein musical from United Kingdom 15 November 2003 This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for.

Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death. So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her. The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life. Was the above review useful to you?

31 out of 35 people found the following review useful: Wonderful, with world's BEST love song! from Seattle, WA 25 May 1999 This is a great film, based on a great show. It is perfectly cast, and has the world's best love song (If I Loved You) in a smashingly romantic setting. I shudder to think what the film would have been like with several who were possible leads--Frank Sinatra and Gene Kelly--because Gordon MacRae is so right--physically and vocally--for the role, and Shirley Jones is marvelously young and innocent and beautiful. The new (as of 5/99) DVD production is stunning, bringing wide screen, impeccable color, sharp definition, and glorious sound to the mix. This Rodgers and Hammerstein show is a classic, and must not be missed! Was the above review useful to you? 28 out of 33 people found the following review useful: This ranks as my favorite Rodgers and Hammerstein from United States 3 April 2001 For years, I searched for this film on TV, plus the old Magnetic video copy released during the late 1970's.

However, other than the occasional pay channel, it was never on. Local channels would play all of the other Rodgers and Hammerstein films, but this one was not one of them for some reason. I had heard the score before. It was perhaps Rodgers and Hammerstein's most RECORDED score. There were two major Broadway cast albums, both starring John Raitt, as well as a variety of studio-recorded albums. It was even done for TV in the 1960's with Robert Goulet, a version I hope eventually will be released. The score is one of the most beautiful to listen to, and the lyrics are inspiring. The movie leads, Gordon MacRae and Shirley Jones, are perfectly cast, and their singing voices beautifully fill the roles. They are even better in this than they were in "Oklahoma!". As Julie's best friend, Carrie, Barbara Ruick is a perfect contrast to Jones' innocent Julie. She is unintentionally flirtatious, yet not "easy" like Gloria Grahame's Ado Annie in "Oklahoma!". Those two roles are very similar in the sense that they are both the second leads with a comic twist, but I found Ruick's Carrie more developed character wise.

As her leading man, Robert Rouseville's Mr. Snow can seem a bit stuffy, but his character is a product of his times: quietly macho, not in the romantic sense, but that a girl like Carrie simply wanting a home and family would be perfect for him. Cameron Mitchell's Jigger Crane, the "Jud Fry" of the story, comes on as a some-what light-hearted villain; it is his actions which will ultimately affect the destinies of our lovers Julie and Billy. As the pricklish Mrs. Mullins, owner of the carousel, delightful Audrey Christie was perfectly shrewish. Finally, as the sweet and wise Aunt Nettie, Claramae Turner was wonderful as the musical's voice of reason, a role often scene in Rodgers and Hammerstein musicals. Her rendition of "You'll Never Walk Alone" is unforgettable. It is totally believable that Julie and Billy would fall for each other. They are both attractive young adults. Yes, he did beat her, and she stayed with him in spite of this. This was the 1870's, and women did stay with the men they loved in spite of things like this.

One of the reasons things like this are important to be seen today is to show how far women have come. In the man-dominated New England of that time, women were secondary citizens, so it is realistic to portray Julie in this light. Sad yes, but a part of history. The New England sets are breath-taking, particularly during the "June is Bustin' Out All Over" number, and in the climactic clambake. They are beautifully photographed, making the film mesmerizing to look at. Between the sumptuous singing of MacRae and Jones and the wonderful cinemascope technicolor, the film is simply outstanding. I find it hard to find any faults with this film, and could simply watch it over and over. Was the above review useful to you? 25 out of 30 people found the following review useful: Beautiful and inspiring from United States 17 February 2002 Shirley Jones is very believable as Julie Jordan, the lovely and ever patient mill worker who falls for a carousel barker, Billy Bigelow. With such heart felt ballads as "If I Loved You" and "You'll Never Walk Alone" it definitely ranks as one of the essential Hollywood musicals.

Carousel is just about the only musical made during this period that deals with darker themes (i.e. date rape, domestic abuse). One could say that it even argues in favor of birth control. Carousel will never look dated because its themes are timeless and apply to the human spirit no matter what year it is. Everybody can identify with Billy to a degree and everybody can not help but feel a deep respect for Julie by the end of her personal journey. Fans of musical drama will treasure Carousel for years to come. Was the above review useful to you? 19 out of 20 people found the following review useful: "He's Your Fellow And You Love Him, That's All There Is To Say" from Buffalo, New York 6 May 2007 I saw Carousel for the very first time in its first release when it played a double bill with Oklahoma. You can't do much better than that for an introduction to the American Musical Theater. It would get a perfect 10 had it been done with the original two leads that were set for the show, Frank Sinatra and Judy Garland. Judy backed out before production started and Sinatra shortly after that, so Gordon MacRae and Shirley Jones got to do a second Rodgers&Hammerstein classic.

Carousel is based on the Ferenc Molnar play Liliom and the original setting is in Molnar's native Hungary. On Broadway it was done by Eva Le Gallienne and Joseph Schildkraut and later in revival by Ingrid Bergman and Burgess Meredith. One man who did it in summer stock was Tyrone Power who if a straight dramatic version of Liliom had ever been done, would have been perfect. Whether he's Liliom in Hungary or Billy Bigelow in 19th century New England, the part is one for a hero/heel that Tyrone Power patented on the screen. Probably Gordon MacRae benefited in no small way in having Power's favorite director Henry King in charge of Carousel. Richard Rodgers was also used to writing for a hero/heel having done Pal Joey with his former partner Lorenz Hart. Billy is that kind of guy, a carousel barker and boy toy to owner Audrey Christie when he spots Julie Jordan and her friend Carrie Pipperidge, a couple of mill workers. It's love at first sight and marriage shortly after, but Billy's not a guy to change his layabout ways and it ends in tragedy.

One reason that Sinatra was also so right for the part was that he had made a successful hit record of Billy's Soliliquy back in 1945 when Carousel debuted on Broadway. It was a groundbreaking piece of musical theater that Dick Rodgers and Oscar Hammerstein were responsible for in the Soliliquy. Billy's just been told by Julie he's about to become a father. In an almost 10 minute number he bares his soul to the audience and sings/thinks aloud the moves he's going to make. The song is almost operatic in quality, it takes a real singing actor to put it over like Sinatra, like MacRae is here, like John Raitt in the original cast on stage. Though it's not Julie's song, Judy Garland had a successful record with You'll Never Walk Alone. I'm sure she would have sung it in the film had she seen it through. It's probably the big hit song from the score, still an inspiring number today. Rounding out the cast is Cameron Mitchell as Billy's no good pal Jigger, Robert Rounseville and Barbara Ruick as Mr.

Snow and Carrie, the second leads and from the Metropolitan Opera Claramae Turner as Julie's cousin Nettie who does sing You'll Never Walk Alone. Two more who are perfectly cast are John Dehner as the officious mill owner that employs the girls and the heavenly star-keeper, Gene Lockhart in one of his last roles. Even more than in Oklahoma, Agnes DeMille's ballet numbers are used to advance the plot. From the exuberant June Is Busting Out All Over to the dance that Billy and Julie's daughter does, all are done with taste and style. Carousel is both tragic and yet uplifting and inspiring. It's a musical for all the ages to come. Was the above review useful to you? 20 out of 24 people found the following review useful: The very finest of Rodgers and Hammerstein! The film of this classic musical is a joy to watch and listen to. The music is undoubtedly the finest Rodgers and Hammerstein score. Of the many fine moments in the film two astounding highlights must be Billy's Soliloquy and the Shirley Jones' and Gordon MacRae's lover's duet "If I loved you".

To this is added two great ballet sequences "June is Bustin' out all Over" and Louise's ballet. The film is Rogers and Hammerstein at their most dark and introspective, which may account for the film's relatively lacklustre reception at the time of its initial release but the at the same time explains the ongoing appeal of this truly timeless classic film. It is a fine memorial to both composer and lyricist and to the artistry of Gordon MacRae whose performance of the soliloquy is the benchmark against which all performances are judged. The film was produced in Cinemascope 55 a large film fomat which overcame many of the problems that were inherent in early Cinemascope films (even though the film was actually released only in standard 35mm form ..a bit like a 35mm print of a 70mm film this still results in a far better image) and gives the film its immaculate look. The Fox DVD is crisp and the sound, though very clearly a 1950s recording is clean and well balanced. I just wish I could see this film in a cinema on the biggest of screens... it would be an even more special experience! Was the above review useful to you?

18 out of 21 people found the following review useful: Beautifully filmed version of Rodgers & Hammerstein musical from North Woodmere, NY 3 March 1999 Rodgers & Hammerstein's groundbreaking musical version of Molnar's "Liliom" has been given a fine rendering on film. Gordon Macrae is the carousel barker, Billy Bigelow, who falls in love with the lovely millworker, Julie Jordan, portrayed by the talented Shirley Jones. The road to happiness is paved with wife abuse, criminal acts, and tragedy, not the usual items found in musicals. The score of "Carousel" is probably one the greatest ever composed for the musical theatre. "If I Loved You" is sung by the couple in a lovers' lane setting where their attitudes and emotions are conveyed by Rodgers' bittersweet melody and Hammerstein's wonderful lyrics. "June is Bustin' Out All Over" is danced and sung by the ensemble of youthful denizens of the Maine town where the story is set. The choreography is delightful, somewhat reminiscent of the athletic-balletic dancing in "7 Brides for 7 Brothers".

Gordon Macrae's moving performance of "Soliloquy" along the rocky seashore with its crashing waves is nothing short of perfection. Frank Sinatra was originally to have the role, but to be frank, he looked a little silly in the costume worn by the character as seen in a still photograph shown in a documentary about Rodgers and Hammerstein. The cinematography is spectacular using the Cinemascope 55 process. Of course, the film must be seen in its widescreen version available on laserdisc and soon to be released on DVD. I first saw "Carousel" at the Roxy Theatre when it opened in 1956. The huge screen seemed like a window looking out on the world of these star-crossed characters. The sound was stereophonic and still is in its video incarnations. Supporting performances are also fine. Cameron Mitchell is Billy's bad influence. Barbara Ruick and Robert Rounsville have magnificent voices and sing the lovely "When the Children Are Asleep" against the panoramic scenery of a June sailboat ride to a clambake. At the clambake, the chorus lead by Claramae Turner sings the heart out of "A Real Nice Clambake".

Turner also sings the anthem "You'll Never Walk Alone" at a tragic turning point in the film. The best way to see "Carousel" is in a theatre, but see it. It is sometimes shown on American Movie Classics cable channel in its original widescreen version. Lean back and enjoy. Was the above review useful to you? 18 out of 25 people found the following review useful: More special than "Oklahoma" movie Author: gkeith_1 18 October 2003 The underdog of the two movies, but not in my book. "Carousel" so sweet, but I hate the darker parts. Hard to watch Jigger & Billy in their evil planning & trying to carry it out. I like all the song-and-dance movies. Here, "Louise's Ballet" really special, with Jacques d'Amboise now an older ballet teacher & mentor of youth. This movie shows him when he was borrowed as a young star (prodigy) from American Ballet Theater (?). Hate the part where Louise is taunted by all those rich kids. Liked the part at the end where Julie is older & more mature; wiser. Still misses her ne'er-do-well husband.

Loved the boat song with Julie's two friends: "When the Children Are Asleep". A tearjerker, but how true. This story gives a midwesterner a view of late 1800s New England life, about uneducated young people. A female mill hand, and a male carousel barker. No wonder they had no money. People were going to college in those days, but not very many apparently. Billy's other money-making alternative was to steal. So sad. Gordon MacRae had such an awesome voice. Shirley Jones' voice is beautiful, as is that of Claramae Turner (Cousin Nettie). The big group dance off Nettie's roof is totally excellent & breathtaking. Reminds me of "7 Brides for 7 Brothers". Too bad people these days only know of Shirley Jones from "Partridge Family". 9/10 (dark violence) Carousel – Arcola Theatre – Review By Admin on Friday, 27 June, 2014 in Onstage , Review Tim Rogers and Gemma Sutton in Carousel at the Arcola Theatre, London. Picture: Roy Tan Carousel continues at the Arcola Theatre, London, until 19 July.

Once cited by Richard Rodgers as his favourite of all his musicals, Carousel, his second major collaboration with Oscar Hammerstein II, tells the dark tale of barker Billy Bigelow, who in the course of the show is fired from his job, hits his wife, turns criminal, and kills himself, finding atonement for his actions only in the afterlife. Set in New England, the piece revolves around the intertwined stories of Bigelow’s marriage to mill worker Julie Jordan and that of Julie’s work colleague Carrie Pipperidge to fisherman Enoch Snow. Morphic Graffiti’s excellent production creatively reimagines this milestone of musical theatre (much as Carousel itself reinvented Ferenc Molnár’s 1909 play Liliom) for the more intimate setting of London’s Arcola Theatre. Luke Fredericks as director and Lee Proud as choreographer seem to avail themselves of every square inch of available floor space as well as utilising Stewart Charlesworth’s ingeniously constructed set to its full potential. The musical accompaniment is similarly re-envisioned for the smaller venue, Mark Cumberland’s beautiful orchestrations for five-piece ensemble being particularly inspired in his scoring for harp.

Tim Rogers’ standout performance as Billy Bigelow perfectly encapsulates the various aspects of the tragic hero’s complicated character – unpleasant and emotionally torn, yet self-sacrificial and ultimately reformed. His interpretation of ‘Soliloquy’, and the final reprise of ‘If I Loved You’ are truly moving. Amanda Minihan’s intimate performance of ‘You’ll Never Walk Alone’ has an element of the ethereal as her voice soars to the song’s climax, matched only by its a cappella ensemble reprise during the graduation scene. The charismatic stage presence of Gemma Sutton and Vicki Lee Taylor ensures that they delight as Julie Jordan and Carrie Pipperidge, respectively, and Valerie Cutko portrays a suitably strong-willed and manipulative Mrs Mullin. While faithful to the original book, this production includes many new touches, among the more significant of which is a reworking of the pivotal moment of Bigelow’s stabbing.

The shift in the time period for the show, from its original late Victorian setting to a Depression-era one, does not come across as strongly as it might have done, which is a pity given the historical coincidence of the story ending in 1945 – fittingly, the year of the musical’s premiere – under this timeframe. Morphic Graffiti’s Carousel features impressive dance sequences (with various acrobatic gestures thrown in for good measure), rousing chorus numbers, and many poignant turns from the principals. The smaller performance space yields many artistic implications, from the brisk tempos of certain songs, to the sense among audience members of being closer to the action and hence more readily swept up in the drama. At times emotional, at times ebullient, but always entertaining, this is without doubt a must-see production. Christopher Wiley How I loved you . . . If I loved you. One of the greatest love songs to come out of musical theater. Gordon MacRae and Shirley Jones: A Hollywood musical match made in heaven. I wonder if Jones might have broken a few hearts in high school . . .

Carousel's story is different from most Hollywood musicals in several ways, the most significant of which is that true love is won right at the beginning, then is tragically squandered by Billy Bigelow, although not ultimately lost. Besides such memorable numbers as the "Carousel Waltz" theme itself and "You'll Never Walk Alone"--the ultiimate graduation song--, one of my all-time favorites is "When (the) Children Are Asleep," the beautiful duet, shared by Carrie and Mr. Snow on the way to the clambake, in which they dream of their married future together: When the children are asleep we'll sit and dream The things that every other dad and mother dream. When the children are asleep and lights are low If I still love you the way I love you today You'll pardon my sayin' I told you so. When the children are asleep, I'll dream with you. We'll think what fun we have had and be glad that it all came true.

Lanning : ) Super Reviewer One of the darkest if not the darkest of the big Hollywood or Rodgers & Hammerstein musicals this has an almost throughly unsympathic anti-hero and somewhat of a doormat, at least at first, for a leading lady. However it also has some of the most beautiful music ever written sung by two great artists. "If I Loved You" is a song so full of cautious yearning and guarded longing with beautiful simplicity it tells you so much about Billy and Julie any other back story would be wasted. "You'll Never Walk Alone" is starkly moving and "June Is Busting Out All Over" provides some much needed levity in the heavy proceedings. Shirley Jones, at perhaps the peak of her lovliness, and Gordon MacRae, always one of the most attractive men in films with his All American robustness, with their chemistry and charisma make the two main characters people you care about which especially in Billy Bigelow's case is not the easiest accomplishment.

As far as their singing performances Shirley as was always the case is in exquisite voice but the real standout has got to be Gordon, blessed with a gorgeous baritone and a fine expressive style, he is terrific here particularly in his big showstopping set piece "Soliloquy". A beautiful film about imperfect people, and the redemption of one, that may not be politically correct if viewed through the prism of modern times but looked at from the persepective of the times it was made in is a great entertainment. jay nixon Super Reviewer ½ A nice, congenial presentation of Rogers & Hammerstein's stage-play, but not as dynamic as Oklahoma!. Still, Gordon MacRae and Shirley Jones are perfectly suited for their respective roles. A pleasant 1950's musical. Randy Tippy Super Reviewer ½ Loving the songs, not sure how much I like this version though, as all the actors look like they're about 40 years old.

Jennifer Xu Carousel (1956) 1080p YIFY subtitles download excellent Rodgers and Hammerstein musical5/10 This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for. Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death. So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her.

The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life. source Wonderful, with world's BEST love song!10/10 This is a great film, based on a great show. It is perfectly cast, and has the world's best love song (If I Loved You) in a smashingly romantic setting.

I shudder to think what the film would have been like with several who were possible leads--Frank Sinatra and Gene Kelly--because Gordon MacRae is so right--physically and vocally--for the role, and Shirley Jones is marvelously young and innocent and beautiful. The new (as of 5/99) DVD production is stunning, bringing wide screen, impeccable color, sharp definition, and glorious sound to the mix. This Rodgers and Hammerstein show is a classic, and must not be missed! source Classic R&H Musical With Superb MacRae and Jones...5/10 Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline. Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop.

Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama. Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger. Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream. Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works. source Beautiful and inspiring5/10 Shirley Jones is very believable as Julie Jordan, the lovely and ever patient mill worker who falls for a carousel barker, Billy Bigelow. With such heart felt ballads as "If I Loved You" and "You'll Never Walk Alone" it definitely ranks as one of the essential Hollywood musicals.

Carousel is just about the only musical made during this period that deals with darker themes (i.e. date rape, domestic abuse). One could say that it even argues in favor of birth control. Carousel will never look dated because its themes are timeless and apply to the human spirit no matter what year it is. Everybody can identify with Billy to a degree and everybody can not help but feel a deep respect for Julie by the end of her personal journey. Fans of musical drama will treasure Carousel for years to come. source It's a Wonderful Death5/10 In recent years it has become commonplace to site Frank Kapra's `It's a Wonderful Life' as one of the greatest films ever. It has become a Christmas tradition. I feel that film is overrated. The problem I have with it is that it stacks the deck in trying to convince us of the value of human life. George Bailey is a successful banker- not exactly rich but successful enough that he contributed a lot of material things to people's lives, including a housing development named after him. He also saved his brother's life so his brother could save the men on that ship, etc. etc.

The message is that you are of value if you have done the sort of things they build statues of people to honor. On top of that, without George, everybody in this town is nothing. They are all drunks or crooks or prostitutes. They have no capabilities of their own. They are all dependent on George Bailey. I much prefer Carousel, whose hero is a bum. If you were to ask nearly everybody in town- a town that has done just fine without him, as a matter of fact, what Billy Bigelow contributed to their lives, they would say nothing- if they remembered him at all. The only people who would have anything good to say about him are those that he loved and who loved him. And that is the bottom line. If a person can be redeemed by his ability to love and to inspire love in others, we all have a chance. If you have to have a bank and town named after you, the bar is too high for most of us. As a musical, this is as good as it gets.

`If I loved you' is rivaled only by `Some Enchanted Evening' as a love song and it means more as it's revealing of the character of this crude man who can't express what's in his soul and this shy girl who wants only to love and be loved. `Soliloquy' is the dramatic highlight in the history of the musical as Billy works out all his hopes and dreams in his mind and vows to do anything he can to make his daughter's life special. By over reaching his bounds, he does the opposite. `What's the Use of Wondering' expresses the doubts anyone entering a relationship has and is doubly moving as it's sung by Julie, for whom we know the song will have special relevance. `When You Walk Through a Storm' offers hope to us all. Those old guys at graduations are really worth listening to.

Gordon MacRae - Biography - IMDb Gordon MacRae Biography Showing all 23 items Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (1) | Trivia (14) | Personal Quotes (1) Overview (4) 5' 8" (1.73 m) Mini Bio (1) Albert Gordon MacRae was born on March 12, 1921, in East Orange, NJ. During his early years, he resided in Syracuse, NY, and, while in high school, spent much of his time singing and acting in the Drama Club. It was also during this time that he learned to play the piano, clarinet and the saxophone. At 19, he entered a singing contest and won a two-week engagement at The World's Fair in New York, performing with the Harry James and Les Brown bands. In 1940, while working in New York City as a page, he was "discovered" and hired to sing for the Horace Heidt Band. After a two-year stint, he joined the Army Air Corps and worked as a navigator for the next two years.

He made his Broadway debut in a show called "Junior Miss", as a replacement in the role of "Tommy Arbuckle". Next, he appeared, again on Broadway, in Ray Bolger 's 1946 revue, "Three To Make Ready". It was here that he was spotted by Capitol Records and signed to a long-term recording contract in 1947. He stayed with the label for more than 20 years. In October 1948, on ABC, he starred on the radio show "The Railroad Hour". The show moved to NBC in October 1949 and continued until June of 1954. It presented operettas and musical dramatizations, all starring Gordon and many different leading ladies. Also in 1948, he was signed to a seven-year contract with Warner Brothers Pictures and, soon after, made his film debut in the non-musical, The Big Punch (1948), opposite Lois Maxwell (well-known later as "Miss Moneypenny" in the James Bond films).

What followed was a string of hit musicals, starting with Look for the Silver Lining (1949), in which MacRae had a featured role opposite June Haver and Ray Bolger , and five fondly remembered films with Doris Day , beginning with Tea for Two (1950). Perhaps his two best and well-known films were two of his last: Oklahoma! (1955) and Carousel (1956), both written by Richard Rodgers and Oscar Hammerstein II and both opposite screen newcomer Shirley Jones . MacRae began to suffer, in the late 1950s and early 1960s, from bouts of heavy drinking and, by his own admission, developed into an alcoholic. He revealed that he had been "picked up for drunk driving" during the filming of "Carousel". He conquered the disease in the 1970s and went on to counsel other alcoholics. He continued recording and performing on dozens of television shows. He and his wife, Sheila MacRae , appeared together frequently and even released an album together. His daughters, Meredith MacRae and Heather MacRae , acted in films and on TV.

On September 22, 1974, he appeared as a sheriff on an episode of McCloud (1970), starring Dennis Weaver , entitled "The Barefoot Girls of Bleeker Street". His final film came in 1979, a fine dramatic role in The Pilot (1980), which starred Cliff Robertson . He suffered a stroke in 1982. He continued on with the support of his second wife, Elizabeth, and his five children. This brilliant performer continued to tour, when his health would permit, allowing audiences to relive some of his biggest film hits. On January 24, 1986, Gordon MacRae died at the age of 64, at his home in Lincoln, NE, of pneumonia, the result of complications from cancer of the mouth and jaw. - IMDb Mini Biography By: Patrick Fullerton Spouse (2) The songs "Oklahoma!" and "If I Loved You" Trivia (14) Ex-father-in-law of Greg Mullavey . Suffered a stroke in 1982 but managed to tour occasionally upon his recovery.

In the fall of 1985, however, he underwent a carotid artery operation. At that time he was diagnosed with cancer and was forced to retire completely. Was supposed to co-star with Judy Holliday in the original Broadway musical production of "Bells Are Ringing" in 1956. There were contractual problems, however, and he was replaced by Sydney Chaplin . In high school (Nottingham High School in Syracuse, NY) he was quite athletic, participating in football, hockey, swimming, baseball, basketball, track, and lacrosse. The National Rifle Association awarded him a marksmanship medal. At age 11 he was an emcee for a local radio station. At age 19, he won a talent contest sponsored by Picture Magazaine, earning a two-week engagement at the New York World's Fair Outdoor Dancing Pavilion singing for Harry James and Les Brown . Had four children with Sheila MacRae : Meredith MacRae (born 1944); Heather MacRae (1946); William Gordon (1948) and Robert Bruce (1954).

Some of his bigger songs with Capitol Records were "A Fellow Needs a Girl" and "Body and Soul." While appearing in a nightclub act with his wife at Lake Tahoe, he received an emergency phone call to replace Frank Sinatra as "Billy Bigelow" in the film version of Rodgers and Hammerstein's stage hit "Carousel", after Sinatra walked out on the filming when he discovered that every scene was to be filmed twice - once for regular CinemaScope and once for CinemaScope 55. Within three days MacRae, who was already familiar with the Broadway show and had wanted to play the role, reported to the set. Ironically, the producers then discovered a way to shoot in CinemaScope 55 and then convert it to regular CinemaScope without filming the movie twice. Born of Scottish immigrant parents. He performed in two film musicals with music by Richard Rodgers . Carousel (1956) and Oklahoma! (1955). He was awarded a Star on the Hollywood Walk of Fame for Radio at 6325 Hollywood Boulevard in Hollywood, California. Broadway | John Raitt prev .

next Broadway 1944 proved to be the turning point for John when he was asked to audition to be Alfred Drake’s replacement in the original Broadway company of the landmark Rodgers and Hammerstein musical Oklahoma! See John perform Figaro's Aria After seeing his audition, Rodgers and Hammerstein had bigger plans for John’s Broadway debut. Instead of casting him as a replacement in Oklahoma! in New York they sent him to join the national company in Chicago. John spent ten months there, plus a few weeks in Detroit and Milwaukee, before R&H brought him back to Manhattan to begin rehearsals of their new show, Carousel, which they had completed with him specifically in mind. At his audition a year earlier, John’s rendition of the aria from The Barber of Seville gave R&H an idea for a number that would make Broadway history. Hear John tell the story of Soliloquy. The critical and audience reaction to Carousel was immediate and overwhelming, making John’s Broadway debut the talk of the town. His performance as Billy Bigelow defined a new breed of leading man – the virile, tragic anti-hero who sings with unmatched power and beauty – and remains the standard against which other legitimate theatre voices are compared.

John took home the New York Drama Critics and Donaldson awards for Carousel. The musical remained the personal favorite of its composer and its leading man. John starred in Carousel for over two years. Hear John talk about long runs and "artistic successes." In 1948 he returned to Broadway in Magdalena, an eagerly awaited musical from noted South American composer Villa-Lobos. The show lasted only 11 weeks at the Ziegfeld. John’s next Broadway musical, Three Wishes for Jamie, was a folksy, Irish fable based on an award-winning novel. Although John always thought of the show as a “near-miss” it barely managed a three-month run. The 1953-54 theatre season began with John starring in Carnival in Flanders, based on a popular 1936 French film. The musical was roundly dismissed by critics, including The New York Times’ Brooks Atkinson, who wrote Raitt “is entitled to be in something that a theatergoer can enjoy ”. Carnival in Flanders folded its tent after only 5 performances. Atkinson got his wish at the end of the season when The Pajama Game became the surprise hit of the year.

In the lead role of Sid Sorokin, the pajama factory foreman, John introduced one of the biggest ballads of the fifties, “Hey There”, once again establishing himself as one of the top leading men of the golden age of the Broadway musical. Working with George Abbott, Jerome Robbins, Bob Fosse and Harold Prince, John enjoyed a huge success with The Pajama Game and once again stayed with the show for its entire 1063-performance run. In 1957 John returned to the sound stages of Hollywood to recreate the role of Sid opposite screen star Doris Day in the movie version of The Pajama Game. Using the most of the New York cast, the film perfectly captured the spirit of 1950’s Broadway. John’s next New York appearance was in the highly acclaimed 1965 Lincoln Center revival of Carousel. The following year John starred in Michael Bennett’s choreographic debut A Joyful Noise, which played only twelve performances at Broadway’s Mark Hellinger Theatre after a summer stock tryout. For ten weeks in 1975 he headlined once again at the St. James Theatre, home of Oklahoma!

and The Pajama Game, when he led an all-star cast in the revue A Musical Jubilee. While traveling the country in a wide variety of productions, the next decades found John playing to New York audiences only occasionally - performing his one man show A Musical Autobiography for an invited audience at the Little Theatre (now the Helen Hayes) in 1982, back on the stage at the St. James singing the title song from Oklahoma! in celebration of it’s 50th anniversary, making a cameo appearance in The Will Rogers Follies in 1993, singing at the Easter Bonnet benefit in 1995. His final appearances on New York stages took place in 2002. As a guest performer at the Tony Awards, John sang a portion of “Soliloquy”. Four days later the 85 year-old star introduced headliners Hugh Jackman and Audra McDonald at a Carnegie Hall concert of Carousel, the same musical that introduced John Raitt to New York audiences fifty-seven years earlier.

FOLLOW US Carousel - The Guide to Musical Theatre CAROUSEL Music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, based on "Liliom" by Ferenc Molnar , adapted by Benjamin F. Glazer. Majestic Theatre, New York - 19 April, 1945 (890 perfs) with John Raitt (Billy) and Jan Clayton (Julie). Opened at the Theatre Royal, Drury Lane, London, 7 June 1950 with Stephen Douglass and Iva Withers. A film version was produced by Twentieth Century-Fox in 1956 with Gordon MacRae and Shirley Jones. From the magical evocation of the carousel in the overture to the majestic and moving strains of the immortal "You'll Never Walk Alone", this giant of the musical stage remains timeless and starbright. The poignant story of the faithful Julie and her brutish husband Billy is one of the most powerful books of the musical theatre and perfectly matches its extraordinary score. Recently revived by the Royal National Theatre to immense critical acclaim.

Famous songs include "Mister Snow", "If I Loved You", "June Is Bustin' Out All Over" and "When The Children Are Asleep". Synopsis Act I The opening scene is an amusement part on the coast of New England around the year 1873. A feature of the park is Mrs Mullin's carousel with its gaily painted horses and its jack-the-lad barker, Billy Bigelow. Mrs. Mullin likes Billy and she likes the amount of feminine business he brings to the carousel, but she is clearly jealous of the girls whom he picks out for his special attention. She gets sourly steamed up when he pays a little attention to a mill girl called Julie Jordan and she vehemently warns the surprised Julie aways fromthe carousel. Her timing is bad, for Billy himself catches the end of the warning. He turns on his employer and tells her that she has no control over what girls he sees and, when the quarrel raises itself a tone, Mrs Mullin, not for the first time, sacks the barker.

Julie and her friend Carrie are aghast at the scene, and even more worried when it turns out that Billy probably doesn't have the price of a beer to his name, but the man shrugs off such worries. He's going to get his things and then one of them can go and have a drink with him. He doesn't mind which. Carrie is open-mouthed with amazement at Billy, and the girls are quite fazed at the fact that he is paying attention them. The quiet, introspective Julie has never had a boyfriend ('You're a Queer One, Julie Jordan') and Carrie's experience of men is in a very different field. She's going to marry the respectable and reliable fisherman, `Mister Snow'. When Billy returns and asks which one of them is going to spend the evening with him, Julie volunteers without hesitation. She faces dismissal from the mill for doing so, for Mr Bascombe, the mill owner, insists that his girls are in their dormitory on time and when the two of them are seen together by Bascombe and a policeman, her fate is settled. She is as much out of a job as Billy is.

Although she is warned of Billy's reputation as a layabout, a sponger and a ladies' man, Julie declares firmly that she will spend the evening with him. She's a strange one: nothing like any of the women Billy has known before. She says she isn't ever going to marry and when he asks her, teasing, if she would marry him, the layabout and sponger, Julie has only one simple response-'If I Loved You'. At the end of the evening they kiss, and the kiss is not the usual kiss Billy gets from his women. When they are married, Julie and Billy move in with Julie's cousin Nettie Fowler who runs a snack bar on the beach. Billy is unable to get a job, and he becomes more and snore sombre and difficult as the workless days go by. He takes his frustration out on Julie and, one day, a one-sided row ends with his hitting her. Immediately the tale goes round town that Bigelow beats his wife. But if things are not as happy as they should be with the Bigelows, the rest of the folk are lively enough.

`June Is Bustin' out All Over' and there is to be a big clambake on the beach. As for Carrie, she is still awaiting her wedding day and she and Enoch Snow pass the time in dreaming of their future together in the rosiest way ('When the Children Are Asleep'). Billy has taken to hanging around with a known evildoer called jigger Craigin, and jigger is heading him for trouble ('Blow High, Blow Low'). He has a plan to rob the mill owner of the payroll he brings each week to the captain of jigger's ship-three thousand dollars. Billy would never have to worry about a job again. He is tempted, but when Mrs Mullin comes to try and woo him back to her employ and the carousel he realises that his old life is better and safer than crime. Only there's a catch: Mrs Mullin insists that he leave Julie. What's the use to her of a barker whom all the girls chase and who goes home to his wife? He'd better talk to Julie and see whom she puts first. When Billy goes to talk to Julie, however, she has something very different to tell him: she's going to have a baby.

For Billy, that changes everything. Life has a future (Soliloquy). Now he has to make something of himself, he has to make money. There is no other way he knows of to do it: he will have to tkae part in Jigger's plan. Act II Anxious to provide for the coming child, Billy has been persuaded by Jigger, a shiftless sailor, to take part in a hold-up. They plan it for the night that the rest of the town is on the beach at A REAL NICE CLAMBAKE. Julie is troubled by Billy, who she knows has something on his mind. The other girls sense her unhappiness, but Julie bravely shrugs it off (WHAT'S THE USE OF WOND'RIN'). Billy and Jigger attempt the robbery. They are thwarted; Jigger escapes, but Billy is caught by Mr. Bascombe, the would-be victim, who vows to hand him over to the police with the prospect of a long prison term. Cornered, disgraced and terrified for Julie and their unborn child, Billy kills himself.

Julie cradles Billy as he dies in her arms and is comforted by an old saying the students used to recite in school (YOU'LL NEVER WALK ALONE). Fifteen years pass. Billy, escorted by a Heavenly Friend, arrives in the backyard of Heaven. Here he meets The Starkeeper, who informs him that he will never get into Heaven until he redeems himself. After some argument, Billy is given a chance. He is allowed to return to Earth for one day, during which he must perform one good deed. Afforded a glimpse of Louise, his lonely and unhappy fifteen-year-old daughter, Billy steals a star to give to her at their first meeting. But back on Earth, he is still the rough blunderer. Louise is shy and won't accept his gift. Unable to reach her in any other way, Billy slaps his daughter - but the sting feels miraculously like a kiss to the girl. Louise explains this to her mother, Julie, who also sees the star that Billy has left behind and, instinctively, Julie understands. Nevertheless, Billy has not yet performed his good deed, and the slap should have been the last straw.

But Billy persuades the Starkeeper to give him one last chance. Unseen, Billy watches Louise and her high school graduation. He observes his daughter's self-doubts, her insecurities. Invisibly, spiritually, Billy reaches out to her; he urges her to believe in herself, and he is filled with pride as he watches his daughter blossom with confidence. Turning to Julie, Billy says simply, "I loved you, Julie. Know that I loved you." And Julie, somehow, hears him. She joins Louise and the rest of the townsfolk in singing YOU'LL NEVER WALK ALONE ... as Billy heads towards Heaven. Cast 5 women, 5 men, chorus JULIE JORDAN - A real New England village girl, but 'deeper', quieter and more complex than her friends. Her infatuation for Billy turns to a love which is proof against his fatal character weaknesses and lives on many years after the tragedy. BILLY BIGELOW - An earthy anti-hero with a reputation for being a lay-about and a ladies' man. He is a deeply troubled character ultimately redeemed by the love he could not communicate to his wife and unborn child.

CARRIE PIPPERIDGE - As the stage direction says, 'a naive, direct and normal young woman of the period'. Julie's friend, her horizon is no further than domestic bliss with be-whiskered Mr. Snow. MRS. MULLIN - The carousel owner; a middle-aged woman who believes that Billy is not only her employee, but her property. ENOCH SNOW - Dour, respectable and ambitious in a small-town sort of way, he is an affectionate family-type too. JIGGER CRAIGIN - A real 'bad lot' who plays on Billy's weaknesses, and deserts him when things go horribly wrong. NETTIE FOWLER - The motherly soul of the village. MR. BASCOMBE - The self-important millionaire and richest man around. HEAVENLY FRIEND / STARKEEPER - Billy's guides and mentors, who tell him the home-truths he really needs.

Musical Numbers: OPENING ACT 1 DUET - Mister Snow - (Julie and Carrie) - "You're a queer one, Julie Jordan" SONG - If I Loved You (Julie with Billy) - "If I loved you, time and again I would try to say" SCENE CHANGE CHORUS - June Is Bustin' Out All Over (Girls, Men, with Carrie) - "March went out like a lion" ENCORE - June Is Bustin' Out All Over GIRLS' DANCE REPRISE - Mr Snow - (Girls and Carrie) - "When you walk down the aisle" SEQUENCE - When the Children Are Asleep - (Carrie and Mr.

Snow) - "I own a little house" CHORUS - Blow High, Blow Low - (Men with Jigger) - "Blow high, blow low, a-whalin' we will go!" DANCE - Hornpipe SOLO - Soliloquy - (Billy) - "I wonder what he'll think of me" FINALE - ACT I CHORUS - A Real Nice Clambake - (Nettie and chorus) - "This was a real nice clambake" ENSEMBLE - Geraniums in the Winder - (Snow, Jigger, Chorus) - "Geraniums in the winder" SONG - What's the Use of Wond'rin' - (Julie) - "What's the use of wond'rin'" CHANGE OF SCENE SONG - You'll Never Walk Alone" - (Nettie) - "When you walk through a storm" INCIDENTAL MUSIC - Entrance of Heavenly Friend SONG - The Highest Judge of All - (Billy) - "Take me beyond the pearly gates" EXIT MUSIC - CHANGE OF SCENE BALLET INCIDENTAL MUSIC - (Carrie) - "I'm just a tom-boy" PORCH SCENE

Question: 'Billy Bigelow' is the name of the tragic hero in which film musical?
Answer: 'CAROUSEL'